India antique portraits miniatures ivory. Mughal Emperor, Shah Jahan, his wife, Mumtaz Mahal, in pair. they are beautifully crafted, gold plated, by hand. incredible  More »

India antique portraits miniatures ivory. Mughal Emperor, Shah Jahan, his wife, Mumtaz Mahal, in pair. they are beautifully crafted, gold plated, by hand. incredible details,delicate, unique. The reverse was protected as it shown, with gloss papers, inscribed under, with hand written black. Excellent condition, fabulous finds, From a Private Collection. Frames sold separate!   « Less

A traditional pattern of Life, Impressionist, painting on board inspires native villagers singed Balinese artist INOMBONG SAYAN UBUD. it reveals a world in which every act of  More »

A traditional pattern of Life, Impressionist, painting on board inspires native villagers singed Balinese artist INOMBONG SAYAN UBUD. it reveals a world in which every act of daily life is an act of worship. The villagers are moving without haste in their traditional task. singed by renowned artist, expressing art of outdoor scene incredible vibrant stroke of colors, in thin light wood frame. excellent, 41" h. x 33" w.   « Less

Impressionist rooster singed painting, dated in 1964. A gorgeous Mid Century Painting on board, Complements in contemporary light wood frame. excellent aged condition. 26  More »

Impressionist rooster singed painting, dated in 1964. A gorgeous Mid Century Painting on board, Complements in contemporary light wood frame. excellent aged condition. 26 inch h. x 29 inch w. Fine Arts.   « Less

Corelli Italian water color painting, inspires Capri volcano, in Italy. recently updated to acid free mat to preserve the art. Re-framed to its authentic antique wood, ornate  More »

Corelli Italian water color painting, inspires Capri volcano, in Italy. recently updated to acid free mat to preserve the art. Re-framed to its authentic antique wood, ornate in gilt, under glass. Rosa Corelli the listed International artist, has several auction records noted on art resources, known for dramatic Italian authentic city scenes, mainly Capri. 12" height, 23" width. Numbered, excellent aged. Private Collection!   « Less

Here we have a good strong impression with good drypoint of Margot Wearing a Bonnet , Created in c.1902, this work is presumably an early impression from the only state  More »

Here we have a good strong impression with good drypoint of Margot Wearing a Bonnet , Created in c.1902, this work is presumably an early impression from the only state created of the image. The work is occasionally printed in black and white; Other examples of this work can be found in the collections of the Delaware Art Museum, Amherst College Massachusetts, the Cincinnati Art Museum, and the Wadsworth Athenaeum Connecticut. Please note the fine printing the burr of the Drypoint . This is a work listed in the Breeskin catalogue , # 179 , printed on early laid paper . The work measure 6 by 8.75 inches with good plate tone . There is a resored area of the paper OUT SIDE of the etched work with little discoloartion far from the work and can be matted over with a proper matting.   « Less

Peter Moran “Harvest in San Juan, New Mexico” Pencil Signed Etching Peter Moran One of America’s leading nineteenth century etchers of animals and  More »

Peter Moran “Harvest in San Juan, New Mexico” Pencil Signed Etching Peter Moran One of America’s leading nineteenth century etchers of animals and landscapes, Peter Moran immigrated with his family to the United States at the age of three. At the age of sixteen he was apprenticed to the lithographic firm of Herline and Hersel, drawing mostly advertisements. A year later he began to study art under his elder brothers, Edward (1829 — 1901) and Thomas (1837 — 1926). Thomas Moran and his wife, Mary Nimmo Moran, both became very influential etchers. Peter Moran concluded his education by visiting England in 1863. He was particularly influenced there by the animal and landscape art of Edwin Landseer, Rosa Bonheur and Constant Troyon. Peter Moran was a full member of the New York Etching Club and the Philadelphia Art Club. He also served as President of the American Society of Etchers. Peter Moran first gained national recognition in 1864 when he visited the territory of New Mexico. He was in fact the first non-native artist to portray aspects of the life and culture of the Pueblo Indians. During the 1870’s and 1880’s he returned to both New Mexico and Arizona, creating a great legacy of both paintings and etchings of these areas. In 1890 Peter Moran traveled as the official artist for the Bureau of Indian Affairs. Here we have a very rare impression of Peter Moran ‘Harvest in San Juan, New Mexico’ Listed work in the Catalogue refer: Keppel 74. Executed in 1883; this is a rich impression on wove paper of a earlier pull with rich dry point before the un signed editions were pulled . The etching measures 6 x 12.25 inches . Framed size 15 by 20.50 inches, recently framed. NOT examined outside of the frame. Signed in the plate and in pencil. This is Considered one of Peter Moran's masterpieces and rare to find in the pencil signed on JAPON paper .   « Less

Hendrik Goltzius (January or February 1558 — January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early  More »

Hendrik Goltzius (January or February 1558 — January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, noted for his sophisticated technique and the “exuberance” of his compositions. According to A. Hyatt Mayor, Goltzius “was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy”. In middle age he also began to produce paintings. Hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin Goltzius is said to rival that of Dürer’s. He made engravings ofBartholomeus Spranger’s paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in Vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham. H. Goltzius “Schmerzensmann; Christ on the Cross” Engraving recorded in both catalogue resumes Ref; Barsch 48 and Hollstein . 48 . this work measures 7.25 in x 5 in on antique laid paper with TWO 18th century collectors marks on the verso and re margined in otherwise good condition .   « Less

Outstanding James Whistler “Draped Figure Reclining” Lithotint We are privileged to offer, “Draped Figure Reclining” (Way 156) Lithograph printed  More »

Outstanding James Whistler “Draped Figure Reclining” Lithotint We are privileged to offer, “Draped Figure Reclining” (Way 156) Lithograph printed in black, and multi colors. Published by the Kennedy Gallery in 1914 of an edition of 400. Sheet measures 7 6/8 inches by 10 1/2 inches. Lovely image in good condition and signed with the artist monogram (the Butterfly) and the “K” from the Kennedy Edition, New York City. This and others are all from a bound portfolio with the library collection of the Frick Library, NYC. James McNeill Whistler (1834—1903), a towering figure in nineteenth-century art, is also one of the most important and beloved of American artists. He was first introduced to the lithographic medium in 1855 before leaving America. He returned to the medium and explored its full range in London in 1878-79, but abandoned it after finding that the market was undermined by prejudice against lithography as a commercial rather than a fine art medium. Most of his lithographs were done in London and Paris between 1887 and 1897, with an extraordinary concentration of works accomplished from 1894 to 1896. In 1890 he began to experiment with color lithography, probably to produce prints that resembled drawings colored with chalk, pastel, or watercolors. The years of Whistler’s greatest interest in lithography correspond to the beginning of the lithographic revival in Britain and to the happy period of his marriage to Beatrix Philip (from 1888 until her death in 1896) and their sojourn in Paris. 
In the late 1880s and 90s Whistler made numerous pastel drawings and lithographs of dancers and figures draped in transparent fabric. He was partly inspired by Greek ‘Tanagra’ figurines, which his friends were collecting around 1890. Whistler made seven colour lithographs in Paris with the printer Henry Belfond in 1891—3. This image was developed as a colour print using first three and then up to six additional stones, but impressions like this were printed using only the main stone (keystone); missing elements (such as the feet) were added in the colour stones or in later states of the keystone. Between 1878 and 1897 Whistler developed a growing enthusiasm for and commitment to this delicate, evanescent medium. He challenged himself and the medium to create the most distilled images of his career, works that capture the unfettered essence of his subject matter. At a time when lithography was generally associated with commercial printing and the garish hues of chromolithography, Whistler’s airy “drawings,” as he thought of them, were as innovative as his nearly abstract painted nocturnes. His work encompassed direct and transfer lithography as well as litho-tint.   « Less

Landscape With Ruins And Two Cows At The Waterside, Hollstein 8iii (of vi); Burke 8iii (of vi). Etching with engraving, 201 x 276 mm ( 7 15/16 x 10 7/8”), trimmed  More »

Landscape With Ruins And Two Cows At The Waterside, Hollstein 8iii (of vi); Burke 8iii (of vi). Etching with engraving, 201 x 276 mm ( 7 15/16 x 10 7/8”), trimmed outside borderline. A fine impression. Paper slightly toned and little discoloration on verso. From the series of six Landscapes of the Environs of Rome. Purchased by the Ft Worth Museum in 1954 (inscribed on verso; NO photo of this is available) in good condition. Provenance: Decommissioned from the Ft. Worth Museum of Texas Graphic Department and sold through Sotheby’s. Jan Dirksz Both (between 1610 and 1618, Utrecht — August 9, 1652, Utrecht), brother of Andries Both, was a Dutch painter and etcher of a few and very rare Italian subjects. From 1634 to 1637, he was taught by Bloemaert and the painter Gerard van Honthorst before travelling to Rome ca. 1637. There he met the French painter Claude Lorrain, with whom he collaborated on a series of landscape paintings. His landscapes are typically peopled by peasants driving cattle or travellers gazing on Roman ruins in the light of the evening sun The everyday life of the streets of Rome became a favorite theme in his works. On his return to Utrecht after the death of his brother in 1642, he stopped producing genre pieces and focused instead on pictures of Italian landscapes bathed in a warm, golden light. This theme was adopted by several other Dutch painters, the Italianites.   « Less

Childe Hassam American Impressionist Painter, Lithographer, watercolorist and etcher (known to all as Childe, pronounced like child) left high school without  More »

Childe Hassam American Impressionist Painter, Lithographer, watercolorist and etcher (known to all as Childe, pronounced like child) left high school without graduating, and ended up working for a wood engraver. He attended drawing classes at the Lowell Institute, a division of MIT, and was a member of the Boston Art Club. He began his artistic career as an illustrator and watercolorist. By 1882, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and thereafter was known simply as “Childe Hassam”. Having had little formal art training previously, Hassam went to Paris in 1886 to study figure drawing and painting at the Académie Julian. He studied under Gustave Boulanger and Jules Joseph Lefebvre. However, he later considered the education he received there “superfluous.” What had a greater influence on Hassam’s work was the art he was exposed to in the city’s museums and galleries, especially the works of the Impressionists. Hassam returned to America and settled in New York City in 1889. He soon became close friends with fellow artists J. Alden Weir and John Henry Twachtman, whom he met through the American Watercolor Society. Hassam enthusiastically painted the genteel urban atmosphere he discovered in New York, which he greatly preferred to Paris. During his time in New York, Hassam made summer painting excursions to Thaxter’s home on Appledore Island, Maine, the largest of the Isles of Shoals; and to Gloucester, Massachusetts; Cos Cob, Connecticut; and Old Lyme, Connecticut. Outstanding Childe Hassam (noted American Impressionist Master) was commissioned to execute and publish a series of Venetian Watercolors for “Venetian Life, 1889”. Executed in the medium color Aquatint, employing multi plates for various colors and tonal effects. These beautiful works were conceived and printed under the supervision of Hassan and took place at the Riverside Press in Riverside New York, 1889. Because of the high cost of published these works in high quality, the technique soon was ended by the first of the 19th century. Sheet size: 4.50 by 7 inches on wove paper; framed size 11.50 by 13 inches each. This is an exceptional antique multi-stone aquatint has the look of an actual watercolor and of a limited edition. professionally framed and are truly beautiful works that will give you many years of great enjoyment. The publication of these works became one of the finest Aquatints in color produced in the period and best among the finest Aquatint printing of the period in America , Here Childe Hassam works in watercolors became strong, brilliant, and individual. Among the best examples are his American water colors. Today these examples are becoming very rare to find on the open market and are often overlooked by collectors of Hassam’s fine print-making.   « Less